“Hands Up!” Sergei Zhukov, the lead singer of the group, expressed a desire to consider his children “for free” within the program “New Star Factory” and other projects. A media outlet reported this development.
Zhukov acknowledged that, as a father, it is challenging to assess his children’s participation in television objectively. He did not want his daughters and sons’ creative talents to be evaluated in front of an audience.
The artist stated, “For God’s sake, please let it be without me.”
Zhukov believes that each child should chart their own path in life. He emphasizes that his role is to be a loving father, not a producer. The singer is raising five children: daughter Alexandra from a previous marriage, daughter Nika, and sons Angel, Miron, and Evan from the former soloist of the group Slivki Regina Burd.
On February 14, it became known that blogger Regina Todorenko will host the musical project “New Star Factory.” Todorenko admitted her interest in becoming the host of this project. “New Star Factory” is slated to premiere on TNT on March 3.
Earlier, Prigogine had predicted that the New Star Factory would achieve success.
In this unfolding narrative, the dynamics between public life and private family relations are brought into sharp focus. Zhukov’s stance reflects a broader conversation about parental involvement in children’s media participation, a topic that resonates with many families balancing talent, opportunity, and personal boundaries. The decision to include or exclude a parent from the evaluative process can significantly shape a young performer’s experience, impacting self-esteem, motivation, and the sense of autonomy that follows them through adolescence and into adulthood. The situation also highlights the evolving reality for artists who navigate fame while safeguarding family privacy.
From a broader media perspective, Todorenko’s role as host adds another layer to the show’s public reception. Entertainment programs that assemble young talents often spark discussions about mentorship, exposure, and the responsibilities of hosts who guide aspiring artists. The March 3 premiere date marks a critical milestone for the project, inviting audiences to witness how a new generation of performers is introduced to national audiences on a major network platform.
Prigogine’s earlier prediction about the program’s potential success invites viewers to consider the factors that influence such forecasts. These include audience appetite for fresh talent, the show’s format, the caliber of mentorship, and the cultural context in which the program airs. Such considerations can shape the trajectory of the series and its impact on the careers of the contestants and the broader entertainment landscape.
Throughout these developments, the central theme remains the balance between parental guidance and personal autonomy. Zhukov’s experience as a father and his decision to step back from the evaluative process illustrate a principled stance on empowering young performers to pursue their own creative journeys. This approach aligns with a growing emphasis on safeguarding well-being and safeguarding agency for children in the public eye, a concern shared by families, producers, and audiences alike.